Questions by Tara Sanders Brooks, Cinematographer and Writer
Natasha Braier ASC, ADF
Natasha Braier ASC, ADF is an award-winning cinematographer known for her bold visual style and emotionally charged imagery. Originally from Argentina, she gained international recognition with XXY and THE MILK OF SORROW (Golden Bear winner and Oscar nominee), and went on to collaborate with visionary directors like Lynne Ramsay, Nicolas Winding Refn, Park Chan-wook, Alma Har’el, and David Michôd. Her work on THE NEON DEMON earned her the Danish Academy Award, and she continues to shape the look of modern independent cinema with films like THE ROVER and HONEY BOY.
She is the first Latina to serve on the Board of Governors at the ASC, where she teaches regularly at their Masterclass. Natasha is also the founder of DEEP LIGHT, a global community created by and for cinematographers, offering mentorship and masterclasses that go beyond technique—fostering human connection, artistic courage, and a new standard of support for the next generation of filmmakers.
You’ve been very busy over the last few months. What have you been working on?
I’ve been finishing a film directed by Boots Riley called I LOVE BOOSTERS. We wrapped principal photography last Christmas in Atlanta and this year I’ve been on and off doing pickups and supervising a crazy car chase shot with miniatures. In between I’ve been juggling some commercial work.
You shift between TV, features and music videos seamlessly. How does rhythm play into your visual style? How do you achieve that technically?
I love jumping between formats. Each one brings something different to the table. Film is my passion of course but music videos feel like poetry. They’re freer, more experimental and let me jam with the language of cinema. Commercials give me financial freedom and the flexibility to be really selective with film projects. They also keep me shooting constantly, testing new gear, meeting new collaborators, and keeping my regular crew working so when a special indie film comes along they can afford to join me on it.
What initially drew you to working in camera?
I’ve been fascinated by light since I was a baby. My parents used to call me “periscope” because I’d lift my head in the crib to watch the light patterns on the wall. As a teenager I got into photography and would spend days in the darkroom printing and developing. I thought I’d make a living as a fashion photographer until I discovered that cinematographers existed. As a cinephile that changed everything. I went to film school and that was it.
What inspires you?
Stories that resonate with my own human experience where I feel I can contribute something meaningful to reflect the human condition and maybe even help others. But honestly I’m trying to explain with words something that’s mostly instinctive. It’s in the gut. I either feel it when I read a script or I don’t.
Then I’m inspired by directors and their unique way of seeing the world. If I resonate with a director’s vision I feel incredibly motivated to become their right hand to help them translate that vision into images. That kind of collaboration is what excites me the most about filmmaking.
What is a dream project you’d like to manifest?
A deeply psychological story like most of the films I’m drawn to but layered with a sci-fi element. Something that lets me go visually wild the way I often do in music videos or other freer formats.
What’s next for you?
I just wrapped Boots’ film a couple of weeks ago and have been shooting commercials since. I was about to start prepping a beautiful Argentine project with director Agustina Macri but it just got postponed which is actually great because I could use a little vacation. So I’m taking some time off reading scripts and looking for the right project to jump into this summer before the Argentine film picks up again.
What advice do you have for young women and nonbinary filmmakers as they start their journeys in the film industry?
Be yourself. Don’t try to conform to outdated ideas of how a cinematographer should look or act on set. Your uniqueness is your greatest strength. In the beginning it’s natural to emulate your heroes as you try to find your voice. But ultimately the goal is to discover your own way of seeing and make sure every creative decision comes from that place.
Find mentors who help you walk through that process. Not to tell you how to do things but to help you connect with your inner compass. That’s the heart of what I’m building with DEEP LIGHT, a community for cinematographers that’s less about ego and more about guidance, growth and genuine human connection. There’s no single path to becoming the artist you’re meant to be. The most important thing is to stay close to your truth and find people who support that journey.
tell us more about Deep-Light.
I was a guest teacher at a lot of institutions, and I always felt like it was focused on the technical side. I felt there was a very big need for people to talk about the harder part of the job – the political, PR, inter-relational side. During COVID lockdown, I thought, why don’t I take this time to put together a program to tell people what I wish I knew when I had started? I wanted to help give people a clue as to how to approach these situations. Whether you come from film school or from assisting, you aren’t used to working with any other DPs when you are DP’ing. There is so much faking it until you make it. Wouldn’t it be great to just give people help to get through those moments?
I am talking to other DPs to have them create their own mentorships through DEEP LIGHT. The idea is to make a space where we can support and teach, not overly academic, just real and raw. I can talk to people about my experience, from a place of let me tell you about my mistakes so you won’t repeat them. We’ve already had seventy people go through the program, which has been in the beta phase. Now, I’m taking the next two months to launch the program fully – it takes a lot of love and commitment to do it right.
